CREATIVE WORK OF THE EARLY VIENNESE CLASSICS IN HISTORICAL RETROSPECTIVE
DOI:
https://doi.org/10.24919/2519-058x.16.210909Keywords:
Maria-Theresa, the Habsburgs, Vienna, early Viennese classics, composer, creative activityAbstract
The purpose of the research is to analyze the achievements of early Viennese classics through the historical prism of Empress Maria-Theresa's reign, who was the promoter and financed the musical culture in her country. The methodology of the research is based on the use of historical, source, musicological, culturological approaches, which allowed to analyze the activities of the Habsburg era musicians, who created the basis for the emergence of Viennese musical Classicism. The scientific novelty consists in the formulation of the mentioned research vector and the research material systematization of that historical epoch, which concerns the analysis of the works of early Viennese royal court composers and performers, who are little known to the general public. The Conclusions. Thus, there were significant reform changes in the cultural, socio-state and religious life of the Austrian Empire during the reign of Empress Maria-Theresa (1740 – 1780). The musical life of Vienna was characterized by the intensity and developed forms of music and concert practice. Old Viennese musicians of Maria-Theresa era created a favourable foundation for the activities of Viennese musical classics, laying the foundations in all areas of the artistic process – composer's creative work, performing practice, pedagogue's practice, music education infrastructure and concert entertainment institutions. Among the galaxy of contemporary composers-performers stood out the figures of G. K. Wagenzail, G. Reuter, M. G. Monn, J. Starzer and J. K. Manna, who were united by a common geographical location (the city of Vienna) and the same period of time (the reign of Maria-Theresa), which coincided with the peak of their creative activity. According to E. Braudo, each of the representatives of Old Viennese school individually “strengthened the foundations of the new instrumental style, both in symphonic and instrumental music” (E. Braudo).
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